HAMMER 1972
Fred Williamson (B.J. Hammer), Bernie Hamilton (Davis), Vonetta McGee (Lois), William Smith (Brenner), Charles Lampkin (Big Sid), D'Urville Martin (Sonny), Stack Pierce (Roughhouse)
Directed by Bruce Clark
A former fighter and dockworker named B.J. Hammer gets back into the boxing ring after a mobster catches him in a fight against a racist co-worker. Seeing the chance to make it to the big time, Hammer signs with Big Sid, a shady promoter who deals in drugs and murder. Trouble ensues when Big Sid's backers demand that Hammer take the fall for an up and coming fighter. Only Hammer isn't going down for anybody.
Bruce Clark, the director of the infamous exploitation classic, GALAXY OF TERROR (1981), tackles this average blaxploitation flick that made Fred Williamson a movie star. The movie is competently shot and contains some nice characterizations. The good guys are good and the bad guys are especially bad. Compared with some others in the genre, it doesn't stand up very well. It's possibly due to some weak boxing choreography as these scenes are pretty much flat for the most part. There's also an overall lack of action aside from a small number of minor set pieces throughout.
The best things in HAMMER are the dialog and certain aspects of the script. What it lacks in action it more than makes up for in its themes and portrayals. A good blaxploitation movie needs some engaging action set pieces to reel in the audience to accentuate those dialog scenes. Even still, these scenes are well done and delve into the minds of the people. Williamson is less ego minded this time out. He's charismatic here, but far more laid back than in most all his other movies. His acting here is less forced and he comes off more natural. It's one of his better roles in my opinion.
The script also explores the seedier side of boxing and the cruel treatment afforded the fighters. They're just slabs of meat to be thrown in the garbage when they've gotten too old. Control is a major theme that runs through this movie. The promoter pulls the strings of the fighters and a bigger fish pulls the strings of the promoter. Also, there's quite a lot said about Hammer once he climbs the ladder to success. A lot of his neighborhood brothers and sisters look down on him once he's workin' for "the Man". However, we never really get a feel for how high up the ladder Hammer has gotten. We only hear about it through those that have turned their backs on him.
Nonetheless it is quite trashy in places which is to be expected of this genre. There's nudity, violence and a good pace, ingredients that categorize the more popular entries in this genre. Derogatory speech is also fairly prominent here. Having the white characters spout off inflammatory dialog really got the audience behind the heroes in these films.
HAMMER (1972) would be several tiers down were it not for the great William Smith as the maniac, Brenner. His overanxious propensity for violence makes for a scary persona. Nearly every scene he's in, Smith seems on the edge of pummeling everyone within camera range. He would later play an even more vicious and excitable mobster in BLACK SAMSON from 1974. Like so many of William Smith's bad guy roles, he's seldom given a believable send off due to his imposing frame and intense face. It's difficult to make the audience believe the hero could take Smith down. He's that intimidating.
Williamson once said that Smith was, "Probably the toughest guy in the 70's", the two worked again on Jack Arnold's black western, BOSS NIGGER (1975). Smith's exit here during the closing moments is rather disappointing after the picture, up to this point, carefully builds Brenner as a force to be reckoned with.
Vonetta McGee will also be remembered as Luva from BLACULA (1972) as well as her role in Sergio Corbucci's excessively bleak and violent THE GREAT SILENCE (1968). She was rather bland, but had an exotic beauty about her with some hypnotic Barbara Steele like eyes. She allegedly had an affair with Klaus Kinski whilst shooting THE GREAT SILENCE. There's also lots of other familiar faces here including "Judo" Gene LeBell, Bernie Hamilton (BUCKTOWN), charles Lampkin (WATERMELON MAN), Stack Pierce (PSYCHIC KILLER), John Quade (EVERY WHICH WAY BUT LOOSE) and D'Urville Martin (DOLEMITE), which helps aid in the films staying power.
HAMMER (1972) is one of the lesser blaxploitation movies, but one not without some merits. It's one of Fred Williamson's more laid back roles. Whereas in so many of his movies, Williamson is simply playing Fred Williamson, here, he lends B.J. Hammer some humble, yet confident traits that make him a likable character. While it's merely an average production, fans will want to see it anyway, but don't expect anything along the lines of BLACK CAESAR (1972), COFFY (1973) or TRUCK TURNER (1974).
This review is representative of the MGM DVD
This entry of Cool Ass Cinema Book Reviews is going for a grindhouse slant. A naughty and nasty tour through the slimier side of sinema as well as a detour into the weird and wild world of exploitation movies. There will also be a bonus book review not too far from the theme of today's entry.
With all the LAST HOUSE slamming going on in the 'Wes Craven' debate over at the Horror Blogger Alliance, I thought it fitting to plug the 'Making Of' book of the controversial classic(k).
WES CRAVEN'S LAST HOUSE ON THE LEFT: THE MAKING OF A CULT CLASSIC
By David A. Szulkin
Softcover; 216 pages; color & B/W
This exhaustive and painstaking revised 2000 edition of Szulkin's amazing 1997 volume on Craven's most notorious movie is a fascinating read that fans and curiosity seekers alike will simply not want to put down. Every aspect of the films production, its release, the controversy and backlash as well as the plethora of lost footage is discussed in detail. Any fan of the film simply must own this book.
Not only is it a document on the making of one of the most villified cinematic endeavors of all time, but it's told in the words of those in front of, and behind the camera. There's a great many stories told by the technicians and participants in addition to a boatload of rare behind the scenes photos and posters as well as a chapter devoted to a slew of LAST HOUSE clones.
Everything there is to know about this production is uncovered and bared to the reader. It adds an additional appreciation for this incendiary exercise in angry and low budget filmmaking. To add to the whole sleazy aura, an appendix lists other films released by Hallmark Releasing accompanied by those films posters. The Table of Contents is as follows....
To Avoid Fainting, Keep Repeating: It's Only A movie...Only A Movie...Only A Movie...
Planning The Sex Crime of the Century
Babes In The Woods: A Crash Course In Guerrilla Filmmaking
Cutting, Slashing, Slicing And Dicing
Krug Plays A Mean Guitar: The Musical Score
The Launch Of A Thousand Lunches
Now You See It, Now You Don't: In Search Of The Uncensored
Rip Offs And Rehashes
Last Thoughts On The House
Appendix 1: Selected Filmographies
Appendix 2: The Shooting Schedule
Appendix 3: The Ballad
Appendix 4: Props And Equipment List For Night Of Vengeance Shoot
Index
Szulkin's extraordinary and authoritative book is must-read material for horror fans. Those who hate the film may find much of interest here as well. From FAB Press, the best film reference publisher, keep repeating to yourself, it's only a book...only a book...only a book....
Following that class act is another wonderful trip down to the bowels of the sleaze pit barrel. This time it's a book from the founder of the 80's exploitation magazine, Sleazoid Express....
SLEAZOID EXPRESS: A MIND TWISTING TOUR THROUGH THE GRINDHOUSE CINEMA OF TIMES SQUARE!
By Bill Landis & Michelle Clifford
Softcover; 315 pages; B/W
The late Bill Landis and his wife, Michelle Clifford put together the ultimate love letter to a bygone timeperiod, a "dark time" in American history. For someone who only got to experience 42nd Street when it was being torn down, this book does a magnificent job of detailing what it was like to have been (un)lucky enough to have experienced it first hand.
Friends of mine have divulged just how scary it was to attend the infamous gutter trash New York movie theaters and the sheer adrenaline rush it was to be right in the middle of the action whilst watching whatever misbegotten celluloid filth was unspooling onscreen. More about the experience than the actual films themselves, SLEAZOID EXPRESS makes a connection with the reader placing you right there in the Deuce, or the Rialto. You get the feeling you are there experiencing it with the authors.
However, one shouldn't go into this volume expecting movie reviews and plot synopsis'. This book is all about the experience first and the films second. It does cover a wide range of genre garbage including a wide range of exploitation, porn, race hate movies, horror both homegrown and from Europe and kung fu movies are among the genres discussed. Another highly recommended book for those interested in New York's original 42nd Street; a time period captured onscreen in such films as TAXI DRIVER (1976) and BASKET CASE (1982).
Moving on we stop off at one of the most celebrated movie review books of all time....
THE PSYCHOTRONIC ENCYCLOPEDIA OF FILM
By Michael Weldon
Softcover; 815 pages; B/W
This is Weldon's original and overwhelmingly massive 1983 review book. It's a milestone in film reference and particularly film review books. There's so much information presented here including many wonderful photos and poster artwork from all manner of exploitation, horror, monster movies and everything in between.
Weldon followed up this comprehensive ode to exploitation cinema with another, slightly smaller volume entitled PSYCHOTRONIC VIDEO GUIDE in 1996. Even with its dated year of release, Weldon's book is a prime read for those who wax nostalgic about catching such wild and wooley films on weekends and on late night television. The reviews themselves are somewhat brief, but contain a lot of interesting trivia for those who already know the films themselves.
This volume is an exceptional read despite its age and is a great coffee table book for those with a passion for all manner of movies with an accent towards the tasteless and the tacky.
And now for the bonus books. These are two of my favorites. One of them is probably the first movie review book I ever bought as a kid....
THE CREATURE FEATURES MOVIE GUIDE
By John Stanley
Softcover; 304 pages; B/W
Stanley, the host of the California television program, Creature Features, writes this excellent and witty review book on horror, sci fi and monster flicks. This is the updated and revised 1984 edition. It was in this tome that I became interested in learning about any and every monster movie I could lay my eyes on. I would fervently peruse the TV Guide seeking out monster flicks then grab my copy of Creature Features and read what Stanley had to say about it. One of my single favorite books in my collection, Stanley struck again several more times such as below with....
CREATURE FEATURES MOVIE GUIDE STRIKES AGAIN
By John Stanley
Softcover; 454 pages; B/W
This fourth edition contains even more entries and some new takes on some old favorites. Sadly, Stanley omits some titles found in previous editions. However, the same witty style returns for more monster goodness. It's another great read, but not as good as the previous Stanley volume, possibly for nostalgic reasons. There has been at least one more version in a much smaller edition.
This is another new column here at coolasscinema. This new section will highlight the magazine that was a huge influence on me that fueled my passion for monster movies when I was a little kid. Granted, I was born in 1975 and only began collecting the magazine in 1978, but Forrest Ackerman's long running love letter to fantastic cinema, FAMOUS MONSTERS OF FILMLAND, made a massive impression on me. I even had a Universal Monsters lunchbox (I wish I knew what happened to that).
During my childhood, I was totally obsessed with horror and monster movies. I had a similar passion for kung fu movies, but at that time, I only saw them at the drive in. Weekends were a special time for a monster kid as Friday and Saturday nights were dominated by ghouls, ghosts and assorted creatures of the night. Below is a selection of issues of the 'Famous' fright rag I have accumulated over the years in addition to various other old monster magazines sprinkled throughout.
This is the earliest issue I have. I'm not sure what the exact number is, the inside cover says volume 5 no. 2. The issue is from June of 1963. The monster on the front cover is from WAR OF THE COLOSSAL BEAST (1958), the sequel to THE AMAZING COLOSSAL MAN (1957). The Mr. Big sequel isn't quite as good as the original, although the makeup would be somewhat similar to another "B.I.G." movie from 1957 entitled THE CYCLOPS. Strangely, the last shot of COLOSSAL BEAST is in color.
This next issue is no. 27 from March of 1964. The cover beast is the cyclops from the wonderful 7TH VOYAGE OF SINBAD (1958). Both this and the above issue are in rather good condition for their age. I have particularly fond memories of seeing 7TH VOYAGE for the first time. Initially, GOLDEN VOYAGE was my first journey with the fabled Arabian adventurer, and my favorite. But Matthew's interpretation was a joy just the same and Harryhausen's Dynamation effects work (his first cinematic color achievements) was astonishing to young eyes.
Now we go to the 1965 Yearbook of Famous Monsters. These Yearbooks (also called Fearbooks) were a collection of some of the best articles from early issues accrued for fans enjoyment containing some cool pics and pieces that some buyers may have missed over the years. The cool cover ghoul is, of course, the Frankenstein Monster. I have two of these, and the other one is in better shape than the one pictured here. The old Universal horrors were always partial to me, but they lost some of their sheen to these eyes once I was exposed to Hammer Films.
Next, it's the 1966 Yearbook. There's a great piece on John Carradine and a look at TALES OF TERROR (1962) and RETURN OF THE FLY (1959). The cover creature is the original Phantom of the Opera from 1925. I was never much of a FLY guy, but I have fond memories of catching TALES OF TERROR late at night where Vincent Price vehicles were regular showings. One of my favorites is THE RAVEN (1963). I've seen that one so many times over the years.
Following that is the 1967 Yearbook, which, as it says at the bottom, 'Best from the first 20 out of print issues'. The bulk of this one, however, is mostly FRANKENSTEIN related articles. The monster on the cover is the Fredric March interpretation of JEKYLL & HYDE from 1931.
Now we come to the 1968 Yearbook, the 'beast issue ever!'. There's lots of great photos in this one and a great article on the original 1933 KING KONG, a film that got lots of exposure in Famous Monsters. I don't know what film (if any) the cover creature comes from. This was an issue I always wanted to get as a kid as it was featured in the back of the mag amidst the many back issues available at the time. I don't remember when the first time was that I saw the original KONG, but I do remember catching SON OF KONG on a Saturday morning on a local station.
Next, it's the 1969 "Fearbook", as they were now being called. The cover again features Chaney's interpretation of the '25 version of Phantom of the Opera. This issue is in more or less mint condition. It features some great photos from Harryhausen movies such as 20 MILLION MILES TO EARTH (1957) as well as some of Universal's mummy movies and various AIP creature features. 20 MILLION MILES has long been a creature feature favorite of mine and one of the most sought after movies for me for a good number of years. I was anxiously awaiting the DVD when it was first announced having had to settle with a VHS copy from Cinemax.
Finally, my last Fearbook, this one is from 1971. The cover creep is none other than Christopher Lee's stab at the creature from THE CURSE OF FRANKENSTEIN (1957). More Universal horrors and a great piece on Amicus' THE SKULL (1965). THE SKULL was probably the first time I recall British terror movies making a deep impression on me as a kid. THE SKULL left an indelible image on mine. I do remember being thoroughly spooked by it. The creepy opening sequence in the graveyard, the eerie shots of the skull floating around amidst devilish paraphernalia, the unsettling score by Elisabeth Lutyens and the dynamic duo of Peter Cushing and Christopher Lee. It's one of my favorite Amicus films and one of my fave Brit horrors period.
Until next time...
This is the first in a series of retrospectives about cinematic tough guys. These are actors who have made an impression on me over the years and this is my tribute to those good and bad guys of exploitation, action, horror and other genres in cinema. This first article is about one of my all time favorite actors, the incredible and legendary William Smith.
T.J. and his gang, The Wizards, ride the highway in CHROME & HOT LEATHER (1971)
When one thinks of memorable screen tough guys, William Smith would top the list for many fans of classic action and exploitation movies. However, William smith was not only a formidable presence on screen, but he was also a true to life tough guy in the real world. His accomplishments are many and he has led a life that most could only dream about. This is a tribute to the awe inspiring grandeur and sometimes overpowering villainy of the legendary William Smith.
Frank Wilson (Smith) roughs up the mob just prior to his fist fight with Philo Bedoe in ANY WHICH WAY YOU CAN (1980)
Johnny Nappa gets irritated at his girlfriend in the violent BLACK SAMSON (1974)
Carrot (Smith) at the end of his rope in THE ULTIMATE WARRIOR (1975)
If all that wasn't enough, Smith had originally intended to continue his career with the US government while completing his doctorate studies. But a studio contract with MGM came calling and Smith soon found himself inundated with an incredible amount of work on assorted television programs such as THE VIRGINIAN, GUNSMOKE and DANIEL BOONE. His lifelong love of horses was a natural progression into westerns and a passion that helped him immensely in the many small screen sagebrush shows he appeared in. One of his most notable portrayals was as Joe Riley on LAREDO, a show that lasted two seasons from 1965 to 1967.
ANGEL rides backed by a hit Tammy Wynette song
Angel gets out of jail and meets his girlfriend from the unusual RUN, ANGEL, RUN (1969)
In this film, Smith played Angel, a biker formerly of The Devil's Advocates. A magazine offers him a large sum of money to reveal the inner workings of his gang. Wishing to go straight, he leaves his life on the road behind and tells his story. This infuriates the other members and they go after their former leader. This dynamite role from the omnipresent actor cemented his status as the "King of the Bikers". The great 70's director, Jack Starrett, goes for a more character driven approach allowing Smith to really shine in his many scenes.
The gang and their souped up cycles launch an assault against the Red Chinese fortress in the Vietnamese jungle
Link meets up with his friend, Matt, at the outset of THE LOSERS
Link gets his gang together from THE LOSERS (1970)
Brenner has a chat with HAMMER's boxing trainer
From bad bikers, Smith moved on to bad guys in blaxploitation movies, a genre which benefited from his intimidating demeanor. He appeared in at least five black exploitation pictures. HAMMER (1972) had Smith playing one of the lead heavies opposing Fred Williamson in a film about a boxer trying to work his way to the big time in boxing and gets mixed up with mobsters. Although the film isn't necessarily one of Williamson's best, the movie does a great job of showcasing the seedier side of the sport and draws some very slimy characters.
"Still beggin' aren't ya', soul brother? The money gets ya' up off your humble ass. I'm gonna send you on a trip....freedom trip, brother."
William Smith hits a TKO as Brenner, one of the most frightening of his numerous villain roles. Rivaling his role as Johnny Nappa in BLACK SAMSON (1974), Smith is awesome as the psychotic mobster who takes a lot of pleasure in inflicting pain on others.
William Smith & Roger E. Mosley (TC from MAGNUM PI) from SWEET JESUS, PREACHER MAN (1973)
Rockne Tarkington (left), BLACK SAMSON, converses with Johnny Nappa (Smith)
Jed Clayton menaces Boss (Fred Williamson)
BOSS NIGGER (1975) was one of several blaxploitation westerns. While it's no classic, it's one of the better of the subgenre of black action oaters. Smith is Jed Clayton, the leader of a gang of outlaws who clashes with bounty hunter turned lawman, Boss, played by Fred Williamson. Smith's role here is little more than a comic book character, but he does well with what he's given. It's an enjoyable, yet disposable action opus.
William Smith battles his vampire father in the strange and bizarre, GRAVE OF THE VAMPIRE (1974)
The enterprising and intelligent actor also dabbled in the horror and science fiction genres taking the lead role in GRAVE OF THE VAMPIRE in 1974. Smith plays James Eastman, a man born from a woman raped by a vampire(!) Eastman seeks revenge for his mother by searching for his father in an effort to destroy him once and for all. It's a trashy, but bizarre and interesting film and a definite change of pace for Smith.
Smith as a government agent rescuing Victoria Vetri from the 'B' Women in the trash classic, INVASION OF THE BEE GIRLS (1973)
Smith as the oddly named Carrot (although I wouldn't tell him that) from Robert Clouse's lackadaisacal, but overly violent THE ULTIMATE WARRIOR (1975)
Smith also co-starred opposite Yul Brynner in the mediocre post apocalyptic production, THE ULTIMATE WARRIOR (1975). Both Smith and Brynner carry the film, but while the film is excessively violent at times, everything in between seems to go nowhere. The fights are the best thing here aside from Smith's manic performance as Carrot, the leader of the vicious gang of thugs seeking seeds to replenish the exasperated food supply. If PLANET OF THE APES (1968) laid the seed for somber futuristic thrillers, ULTIMATE WARRIOR is the seed for all the similar films that would follow (particularly in Italy) at the start of the 1980's.
Smith (right) trains a young BEASTMASTER, Marc Singer to be a 'GLADIATOR' in the APES series episode of the same name.
William Smith as the Treybor from 'BUCK'S DUEL TO THE DEATH' episode from the BUCK ROGERS IN THE 25TH CENTURY television program
Smith and Eastwood go toe to toe in one of the single longest brawls (if not the longest) in American movie history from ANY WHICH WAY YOU CAN (1980)
Proving to be a far more challenging and fearsome opponent than Walter Barne's Tank Murdoch in the previous movie, the climactic bare fisted brawl is one of the highlights of American action cinema and quite possibly the longest ever seen onscreen. Smith was the perfect choice for this role and looked intimidating opposite Eastwood's character. Into the 80's, Smith never slowed down appearing in some of John Milius's big studio movies such as the father to CONAN THE BARBARIAN (1982) and the Russian military leader, Strelnikov in the controversial RED DAWN (1984).
William Smith was fluent in Russian among several other foreign languages. Here, he plays Strelnikov, a Russian military leader whose forces march on American soil in RED DAWN (1984)
Link and his group mingle amongst the Vietnamese in THE LOSERS (1970)
To this day, William Smith continues to act and is an accomplished writer of poetry. He is also receiving further awards and accolades for his work in film and television and hopefully will attract a new legion of fans that can appreciate his impressive body of work of over five decades. Whether it's bad ass bikers, malicious mobsters, or any number of similar commanding roles, William Smith's impressive achievements defines both the real and the cinematic tough guy.
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Bruce Clark, the director of the infamous exploitation classic, GALAXY OF TERROR (1981), tackles this average blaxploitation flick that made Fred Williamson a movie star. The movie is competently shot and contains some nice characterizations. The good guys are good and the bad guys are especially bad. Compared with some others in the genre, it doesn't stand up very well. It's possibly due to some weak boxing choreography as these scenes are pretty much flat for the most part. There's also an overall lack of action aside from a small number of minor set pieces throughout.
The script also explores the seedier side of boxing and the cruel treatment afforded the fighters. They're just slabs of meat to be thrown in the garbage when they've gotten too old. Control is a major theme that runs through this movie. The promoter pulls the strings of the fighters and a bigger fish pulls the strings of the promoter. Also, there's quite a lot said about Hammer once he climbs the ladder to success. A lot of his neighborhood brothers and sisters look down on him once he's workin' for "the Man". However, we never really get a feel for how high up the ladder Hammer has gotten. We only hear about it through those that have turned their backs on him.
HAMMER (1972) would be several tiers down were it not for the great William Smith as the maniac, Brenner. His overanxious propensity for violence makes for a scary persona. Nearly every scene he's in, Smith seems on the edge of pummeling everyone within camera range. He would later play an even more vicious and excitable mobster in BLACK SAMSON from 1974. Like so many of William Smith's bad guy roles, he's seldom given a believable send off due to his imposing frame and intense face. It's difficult to make the audience believe the hero could take Smith down. He's that intimidating.
Vonetta McGee will also be remembered as Luva from BLACULA (1972) as well as her role in Sergio Corbucci's excessively bleak and violent THE GREAT SILENCE (1968). She was rather bland, but had an exotic beauty about her with some hypnotic Barbara Steele like eyes. She allegedly had an affair with Klaus Kinski whilst shooting THE GREAT SILENCE. There's also lots of other familiar faces here including "Judo" Gene LeBell, Bernie Hamilton (BUCKTOWN), charles Lampkin (WATERMELON MAN), Stack Pierce (PSYCHIC KILLER), John Quade (EVERY WHICH WAY BUT LOOSE) and D'Urville Martin (DOLEMITE), which helps aid in the films staying power.
